In architecture, functionalism is the principle that buildings should be designed based solely on the purpose and function of the building. This principle is less self-evident than it first appears, and is a matter of confusion and controversy within the profession, particularly in regard to modern architecture.
The theoretical articulation of functionalism in buildings can be traced back to the Vitruvian triad, where ‘utilitas’ (variously translated as ‘commodity’, ‘convenience’, or ‘utility’) stands alongside ‘venustas’ (beauty) and ‘firmitas’ (firmness) as one of three classic goals of architecture. Functionalist views were typical of some gothic revival architects. In particular, Augustus Welby Pugin wrote that “there should be no features about a building which are not necessary for convenience, construction, or propriety” and “all ornament should consist of enrichment of the essential construction of the building”.
The debate about functionalism and aesthetics is often framed as a mutually exclusive choice, when in fact there are architects, like Will Bruder, James Polshek and Ken Yeang, who attempt to satisfy all three Vitruvian goals.
In the wake of World War I, an international functionalist architecture movement emerged as part of the wave of Modernism. The ideas were largely inspired by the need to build a new and better world for the people, as broadly and strongly expressed by the social and political movements of Europe after the extremely devastating world war. In this respect, functionalist architecture is often linked with the ideas of socialism and modern humanism. A new slight addition to this new wave of functionalism was that not only should buildings and houses be designed around the purpose of functionality, architecture should also be used as a means to physically create a better world and a better life for people in the broadest sense. This new functionalist architecture had the strongest impact in Germany, Czechoslovakia, the USSR and the Netherlands, and from the 1930s also in Scandinavia (including Finland).
History of functionalism
In 1896, Chicago architect Louis Sullivan coined the phrase ‘form ever follows function’ to capture his belief that a building’s size, massing, spatial grammar and other characteristics should be driven solely by the function of the building. The implication is that if the functional aspects are satisfied, architectural beauty would naturally and necessarily follow.
Sullivan’s credo is often viewed as being ironic in light of his extensive use of intricate ornament, since a common belief among functionalist architects is that ornament serves no function. The credo also does not address whose function he means. The architect of an apartment building, for instance, can easily be at cross-purposes with the owners of the building regarding how the building should look and feel, and they could both be at cross-purposes with the future tenants. Nevertheless, ‘form follows function’ expresses a significant and enduring idea. Sullivan’s protégé Frank Lloyd Wright is also cited as an exemplar of functional design.
In the mid-1930s, functionalism began to be discussed as an aesthetic approach rather than a matter of design integrity. The idea of functionalism was conflated with lack of ornamentation, which is a different matter. It became a pejorative term associated with the most bald and brutal ways to cover space, like cheap commercial buildings and sheds, then finally used, for example in academic criticism of Buckminster Fuller’s geodesic domes, simply as a synonym for ‘gauche’.
For 70 years the preeminent and influential American architect Philip Johnson held that the profession has no functional responsibility whatsoever, and this is one of the many views today. Johnson said, “Where form comes from I don’t know, but it has nothing at all to do with the functional or sociological aspects of our architecture”. The position of postmodern architect Peter Eisenman is based on a user-hostile theoretical basis and even more extreme: “I don’t do function.”
Popular notions of modern architecture are heavily influenced by the work of the Franco-Swiss architect Le Corbusier and the German architect Mies van der Rohe. Both were functionalists at least to the extent that their buildings were radical simplifications of previous styles. In 1923 Mies van der Rohe was working in Weimar Germany, and had begun his career of producing radically simplified, lovingly detailed structures that achieved Sullivan’s goal of inherent architectural beauty. Le Corbusier famously said “a house is a machine for living in”; his 1923 book Vers une architecture was, and still is, very influential, and his early built work such as the Villa Savoye in Poissy, France, is thought of as prototypically function.
Czech and Slovak Functionalism
Functionalism was a dominant architectonic style in former Czechoslovakia in the period of 1928-1970 (with an exception of the occupation and a Stalinist architecture in 1950s). It was a result of fascination first by industrial development and later by an effort “to create a new man and new society” during the period of the socialism (1948–89). Its “program” was formulated by the Club of architects in Prague in 1924. In 1930s and then in 1960s and 1970s the position of functionalism was dominant and almost exclusive.
In Scandinavia (including Finland), the international movement and ideas of modernist architecture became widely known among architects at the 1930 Stockholm Exhibition, under the guidance of director and Swedish architect Gunnar Asplund. Enthusiastic architects collected their ideas and inspirations in the manifesto acceptera! and in the years thereafter, a functionalist architecture emerged throughout Scandinavia. The genre involves some peculiar features unique to Scandinavia and it is often referred to as “funkis”, to distinguish it from functionalism in general. Some of the common features are flat roofing, stuccoed walls, architectural glazing and well-lit rooms, an industrial expression and nautical inspired details, including round windows. The global stock market crisis and economic meltdown in 1929, instigated the needs to use affordable materials, such as brick and concrete, and to construct quick and efficiently. These needs became another signature of the Nordic version of functionalist architecture, in particular in buildings from the 1930s, and carried over into modernist architecture when industrial serial production became much more prevalent after World War II.
As most architectural styles, Nordic funkis was international in its scope and several architects designed Nordic funkis buildings throughout the region. Some of the most active architects working internationally with this style, includes Edvard Heiberg, Arne Jacobsen and Alvar Aalto. Nordic funkis features prominently in Scandinavian urban architecture, as the need for urban housing and new institutions for the growing welfare states exploded after World War II. Functionalism had its heyday in the 1930s and 1940s, but functionalist architecture continued to be built long into the 1960s. These later structures, however, tends to be categorized as modernism in a Nordic context.
Vilhelm Lauritzen, Arne Jacobsen and C.F. Møller were among the most active and influential Danish architects of the new functionalist ideas and Arne Jacobsen, Poul Kjærholm, Kaare Klint, and others, extended the new approach to design in general, most notably furniture which evolved to become Danish modern. Some Danish designers and artists who did not work as architects are sometimes also included in the Danish functionalist movement, such as Finn Juhl, Louis Poulsen and Poul Henningsen. In Denmark, bricks were largely preferred over reinforced concrete as construction material, and this included funkis buildings. Apart from institutions and apartment blocks, more than 100,000 single-family funkis houses were built in the years 1925-1945. However, the truly dedicated funkis design was often approached with caution and many residential buildings only included some signature funkis elements such as round windows, corner windows or architectural glazing to signal modernity while not provoking conservative traditionalists too much. This branch of restrained approach to the funkis design created the Danish version of the bungalow building.
Fine examples of Danish functionalist architecture are the now listed Kastrup Airport 1939 terminal by Vilhelm Lauritzen, Aarhus University (by C. F. Møller et.al.) and Aarhus City Hall (by Arne Jacobsen et.al.), all including furniture and lamps specially designed in the functionalist spirit. The largest functionalist complex in the Nordic countries is the 30,000 sq. m. residential compound of Hostrups Have in Copenhagen.
Some of the most prolific and notable architects in Finland, working in the funkis style, includes Alvar Aalto and Erik Bryggman who were both engaged from the very start in the 1930s. The Turku region pioneered this new style and the journal Arkkitehti mediated and discussed functionalism in a Finnish context. Many of the first buildings in the funkis style were industrial structures, institutions and offices but spread to other kinds of structures such as residential buildings, individual housing and churches. The functionalist design also spread to interior designs and furnitures as exemplified by the iconic Paimio Sanatorium, designed in 1929 and built in 1933.
Aalto introduced standardised, precast concrete elements as early as the late 1920s, when he designed residential buildings in Turku. This technique became a cornerstone of later developments in modernist architecture after World War II, especially in the 1950s and 1960s. He also introduced serial produced wooden housing.
Notable representations of functionalist architecture includes:
Villa Tugendhat, Brno, Czech Republic
Veletržní palác, Prague, Czech Republic
Obchodný a obytný dom Luxor, Bratislava, Slovakia
Södra Ängby, Stockholm, Sweden
Aarhus University, Denmark
Pärnu Rannahotell, Estonia
Pärnu Rannakohvik, Estonia
Villa Savoye, Poissy, France
Knarraros lighthouse, Stokkseyri, Iceland
Kavárna Era, Brno, Czech Republic
Villa Müller, Prague, Czech Republic
Kolonie Nový dům, Brno, Czech Republic
Administratívna budova spojov, Bratislava, Slovakia
Zlín city, Czech Republic
Bullfighting Arena, Póvoa de Varzim, Portugal
Södra Ängby, Sweden
Bullfighting Arena, Póvoa de Varzim, Portugal
Södra Ängby, Sweden
The residential area of Södra Ängby in western Stockholm, Sweden, blended a functionalist or international style with garden city ideals. Encompassing more than 500 buildings, it remains the largest coherent functionalistic villa area in Sweden and possibly the world, still well-preserved more than a half-century after its construction 1933–40 and protected as a national cultural heritage.
Zlín, Czech Republic
Zlín is a city in Czech republic which was in 1930s completely reconstructed on principles of functionalism. In that time the city was a headquarters of Bata Shoes company and Tomáš Baťa initiated a complex reconstruction of the city which was inspired by functionalism and the Garden city movement.
Zlín’s distinctive architecture was guided by principles that were strictly observed during its whole inter-war development. Its central theme was the derivation of all architectural elements from the factory buildings. The central position of the industrial production in the life of all Zlín inhabitants was to be highlighted. Hence the same building materials (red bricks, glass, reinforced concrete) were used for the construction of all public (and most private) edifices. The common structural element of Zlín architecture is a square bay of 20×20 feet (6.15×6.15 m). Although modified by several variations, this high modernist style leads to a high degree of uniformity of all buildings. It highlights the central and unique idea of an industrial garden city at the same time. Architectural and urban functionalism was to serve the demands of a modern city. The simplicity of its buildings which also translated into its functional adaptability was to prescribe (and also react to) the needs of everyday life.
The urban plan of Zlín was the creation of František Lydie Gahura, a student at Le Corbusier’s atelier in Paris. Architectural highlights of the city are e.g. the Villa of Tomáš Baťa, Baťa’s Hospital, The Grand Cinema or Baťa’s Skyscraper.
Khrushchyovka (Russian: хрущёвка, IPA: [xrʊˈɕːɵfkə]) is an unofficial name of type of low-cost, concrete-paneled or brick three- to five-storied apartment building which was developed in the Soviet Union during the early 1960s, during the time its namesake Nikita Khrushchev directed the Soviet government. The apartment buildings also went by the name of “Khruschoba” (Хрущёв+трущоба, Khrushchev-slum).
Functionalism in landscape architecture
The development of functionalism in landscape architecture paralleled its development in building architecture. At the residential scale, designers like Christopher Tunnard, James Rose, and Garrett Eckbo advocated a design philosophy based on the creation of spaces for outdoor living and the integration of house and garden. At a larger scale, the German landscape architect and planner Leberecht Migge advocated the use of edible gardens in social housing projects as a way to counteract hunger and increase self-sufficiency of families. At a larger scale, the Congrès International d’Architecture Moderne advocated for urban design strategies based on human proportions and in support of four functions of human settlement: housing, work, play, and transport.
Source From Wikipedia